EphraimP

I'm pretty happy with the Metabones so far. I was going to post this image on the last post, but got distracted looking the Sigma 50 up again. I'm so tempted. For the same price I could get two Meike cine primes... but this metabones is calling out for really nice glass.

The 1.8 probably does better at autofocus because it's has an STM motor. And I agree, with the .71 increase of the speedbooster plus the extra stop of aperture, it's plenty. It was pretty cool being able to open all the way up to F1 on the 1.4 though. See below. I'd be more concerned about the difference in IQ between the lenses. It's tempting to just say screw it and get a Sigma Art It tracks subjects, seemingly as well as my 17--55, but I need to test it more. I'm not saying it messes up more on bigger focus pulls. I'm saying my 17-40 pulses a bit when locking onto focus and the 50 even more so. Like I said, I think it has more to do with lens motor construction than the speedbooster. That's why I want to try lenses that have more modern focus motors built with video in mind. Now that Metabones has brought this one to market you don't need to choose between a Vilrox, and take an IQ hit, or the Fringer and keep the 1.5 crop. The Metabones gives you the best of both worlds and you can still manual focus when you want to.

That's lame. Any idea why? Lack of X-mount sales on the 50mm?

v60 is fine. I have a Lexar 126G SDXC II V 60 card rated for 150 MB/s that's worked great. In the second card slot I usually have a San Disk Extreme 32G SDHC V30 card rated at 90MB/s that B&H sent with the camera.

I have the 70-200 F2.8L usm. It's the old one, without OIS. I have put it on for a little bit, will play with it some more.

I didn't say speedbooster autofocus is "good" in my earlier post, I said it works and I need to test it more. I have been using in AF-C. So far, I've only been able to test it with UMC lenses. The autofocus seems to track as well as with native lenses, which is pretty good until it inexplicably looses a face (which is Fuji problem in general right now). When changing focus, the EF lenses I've used can hunt and go in and out while trying to lock on. I think that's more to do with the UMC lens motor than anything to do with the electronic connection of the speedbooster. I bought my daughter an EF 50 1.4 USM and played with it on the T4 before I gave it to her. Autofocus hunting was horrible, but the image was very nice opened up all the way. It makes me really want a fast niffty fifty! Any suggestions out there about which EF 50 has the best autofocus performance for under $1k? I'm wondering if I should get a EF 50 to use with the speedbooster, or get a Fuji 35mm. I like manual focusing but there are times when it's great to have autofocus. Also, I'm loving the fact that the speedboster gives another stop of aperture.

Gerald points out that, with current color profiles, the R5 and R6 have poor dynamic range. So that mitigates against the R5 as being "possibly the best mirrorless camera out there." And plus, seriously, ~$4k for a 1080p camera in 2020 is so... 2020.

I've also been super happy with my T3. Love the image quality out of it and the film simulations for photo. I have been able to get the Ninja to work fine with it and really like getting a 422 Prores file to edit, plus a much bigger monitor with a full suite of monitoring tools is clutch. I've mainly used the 18-55 on it; it really is a decent lens if a bit slow. A key benefit of the X-mount system that hasn't been mentioned yet is cheap, good cinema glass. I have a Meike 25mm, and it's a great piece of glass to use, if you have a matte box to control flairs. I'll definitely be getting more of these lenses if Canon continues to screw up it's mirrorless line. I've had the new Metabones speedbooster for a week or so. It does boost your price range a fair bit, but if you have old lenses you can use with it, it might well be worth the investment. The optical quality is great as far as I can tell. The autofocus does work, but I can't yet say whether it matches or beats native lenses because my L-glass is all quite old (~15 years) with USM motors. I'd like to try it out with STM motors or the very best new L-glass.

Ha! Same. I keep getting worried that I'll want the r6, but it seems to have some issues. Yeah, not trusting Tohen further than I can throw him. Clownshoes. X-T4 + Ninja is a nice option. B&H is bundling them with an accessory pack at a good price, so that's the route I went. In my early tests, it can record to the Ninja in 4k 24p until the battery dies, about 2.5 hours, indoors. Outdoors in pretty warm weather, I was able to record 4K to the Ninja and 1080 to the camera for more than an hour, starting and stopping the takes to reposition a couple of times but not turning the camera off. This weekend I may torture test 4K internal while I'm editing a project.

I haven't watched the YouTube. Sounds like what you are saying is that you can use this link to route a remote ATEM into your main ATEM, taking up a HDMI in on the "studio ATEM", without a second party webservice to host the remote ATEM stream. I can see how that would be helpful to some productions. What I'm looking into right now is a solution for livestreaming from locations that don't have an ethernet network with decent bandwidth for uploading. I've found that your typical (in the US anyway) 5Mpbs upload speed is dicey at best for a multicam stream. It looks like cellular bonding encoder/modem are the way to go, but they are pretty expensive. Since the ATEM is already an encoder, I'd love to find a modem only solution that would work.

Having no broadcast experience, I'm not getting what the advantage of this is to a livestream.

Auto focus, on the other hand, definitely has room for improvement. I don't have any personal experience with Sony, or Canon offerings better than the 80D, but it definitely appears that Fuji is behind the curve if not a lap or two back like Panasonic.

Still working on getting familiar with the metabones adapter. I used it to get a little b-roll for a mini-doc on Tuesday. I just received an EF 50mm F1.4 that I bought for my daughter's birthday (she picked up my 80D when I got the T4) and I'll throw it on the T4 and maybe my T3 for some quick tests before I give it to her. On the overheating side, I used the T4 for the doc shoot Tuesday, recording internal at 1080 and externally at 4k DCI. I typically do that so I have backup files that don't take up as much storage space - post-production is all in 1080. We recorded interview footage for about an hour, doing 5 to 15 minute takes, with b-roll recording before and after. The T4 definitely got warm to the touch but it never overheated or gave me any problems. We were outdoors in temps up into the mid 90s F/30s C, in the shade as much as possible. That's encouraging to me, because that's my typical shooting scenario. With even the new A7S III having some reports of overheating already, I think the T4 will meet my needs. Overall, it's a good package and with a Metabone and a Ninja V is up there with the new full frame offerings in terms of performance for the price (unless you want RAW) with a lot more flexibility.

Yeah, it's been ridiculous how hard it has been to get a Mini Pro, or even a Mini. I got really luck in that respect. When I landed the jobs to fund the purchase and had to get one right away, I pre-ordered from B & H, which had a lead time that was acceptable. Then I found a Amazon seller with a few in stock, so I ordered from them and probably secured the last one they had in stock. I had to pay extra shipping, but it got to me before B & H even had them in stock. I thought about keeping the B & H order and selling it on Ebay, because I'd seen them going for as much As $900, but decided against it. Hopefully I got some good karma points for letting someone else get it at the regular price before B & H went out of stock again. I get that the ISO features aren't necessary for everyone. Like I said, I'd pay the upgrade if it was possible. If you only used in to remaster one job, it would totally be worth it.

I just saw this amazing new development of the ATEM... and was a bit bummed out by it. Why? Because I purchased the Pro a few months back and would really love the ISO feature. I've produced several livestream concerts with it and, while have a recording of the program feed is nice and you can record to each camera's cards as well, it would be so much more practical for a post production workflow to have the capabilities that the Pro ISO has. It's easy to forget to hit record on an camera if you're doing a multi-cam setup as one person. I wonder what, if any, hardware changes have been made to the Pro to add the ISO capabilities. It really sounds to me like firmware updates, but what do I know. I understand that, seeing as this isn't a simple bug fix or small upgrade like adding audio delay, Blackmagic would want to charge more to recoup its development costs and make a profit. I'd certainly be willing to cough to add these features if it was possible.

A Metabones EF to X- mount Speedbooster hit my doorstep Friday and I've started to play with it a bit. I know it was mentioned in a conversation about EF adapters on a recent Fuji thread but I can't remember which one. I'll give my impressions on it once I'm more familiar with it, if people want that. First impression it that is produces a nice image quality with my 17-40L and 180 L macro. I took some shots with my 70-200 L 2.8 (old non-is version) but I haven't looked at them yet. The autofocus works with both the wide and telephoto zooms, though I'm not sure yet how it compares to native lenses. I did a side-by-side setup with the wide Canon zoom on my T4 and my XF 17-55 2.8-4 but I haven't had an opportunity to look at them side by side yet. On a separate note, I'm running a test on the T4 right now to see how long it can record in DCI 24p with HDMI out to a Ninja, not recording internally. I know internal recording has limits and possible heating issues, so I'm testing HDMI out recording first. Later I'm going to test how many times I can restart internal recording in DCI or 4K before heating is an issue. I'm recording in my home office, which 78 degrees Fahrenheit, 25.5 C for those of you who live in a place with a rational measurement system. Tomorrow I'll be using the T4 on a doc project outside with temps around 92/33 degrees, so we'll see how it does in real-world conditions. Btw, is it possible to turn IBIS completely off on the T4? When I turn off the OIS switch on my 17-55, the IBIS option is grayed out in the menu, but the boot mode is still available? And what if I'm using an non-stabilized third party lens like my L-glass or Meike prime?

That one looks interesting. Feelworld has a similar unit for $600 and change that's 1080. I don't think I'd need a 4K monitor for a 1080 stream. Anyone have feedback on quality difference between Feelworld and Lilliput?

Yeah, for the level of production I'm doing right now, under a a grand is definitely the budget. If the wedding option picks up, maybe the budget will too. Unfortunately, when I live isn't booming economically (is anywhere) and a lot of people don't want to pay decent rate for video work. A guy is trying to start a livestreaming service at his club and pitch it to businesses, nonprofits and musicians. He wants me to run the livestreams but is telling prospective clients that my rate is only $100 - $150. Yeah, like I'm going to pack in 2-3 cameras with tripods or gimbles, a ATEM Mini Pro, computer, monitor, a MixPre 3 II , Ninja monitors for multiple cameras, a network switch and all of the cabling, and run 1 to 2 hour streams, all for $100 to $150. No, I'm not joking. I just need something that's not a pain in the ass to port around that shows me if my cameras are in focus and that I can plug a headset into. If a Feelworld monitor will last a year or two, it could work.

Good point about the brightness. I think that one has a sun hood too.

The Feelworld is a bit small, but they do have a 17" monitor that's closer to what I'm looking for. I'm not sure about the quality of Feelworld products. That may be the tradeoff.

Like I said, one that doesn't cost an arm and a leg. I'm curious if there is anything in the $300-500 range that is any good. I'd say my budget is definitely under $1,000, American.

Yeah. Metabones just came out with one. I ordered it when I ordered an X-T4 last week. It's a special order, because they are not in stock everywhere yet. Still waiting.

I've been getting into livestreaming with BM Atem Mini Pro. For the last couple of streams, I've been shooting musicians in a local club. After doing one show using my Ninja V as a multicam monitor to view my cameras and program feed, which was not ideal, I've been lugging a 32" TV to the gigs to use as a monitor. Besides the hassle of lugging around such a big screen with no case (and unplugging it from my home editing setup all the time) I can't monitor program audio because the TV only has one of those optical digital audio inputs, no 3.5 jack. I may get some outside gigs in the future (someone is hitting me up about weddings), which would mean I'd want something with more nits (probably 1,000 plus range) so I can actually see it. So I'm looking for a portable production monitor that doesn't cost and arm and a leg. Something around 17-20" would be fine. It would be a bonus if it has focus peaking and other monitoring tools, but not totally necessary. I have 2 Ninja Vs for a three plus camera setup (X-T3, X-T4, 80D). Ideal I'd be able to use it horizontally as a field monitor and then swap it to vertical at home for an extra monitor for my editing machine. Any suggestions or user experiences ya'll would like to share?

I use this baseplate, because the cage has a built-in Arca-Swiss style QR plate. It works great on my rig and the height is adjustable. https://www.smallrig.com/smallrig-universal-15mm-rail-support-system-baseplate-2272.html I use Smallrig's aluminum rods on my rig with this.

Nato rails allow you to attach any number of accessories. I specifically meant using the rail you linked to attach a handle like this one than has an integral nato clap: https://www.smallrig.com/smallrig-camera-camcorder-action-stabilizing-nato-handle-1955.html Handles are great for hand-held shooting and provide a couple of cold shoes for mounting mics or other accessories. The nato clamp styles are very easy to take of if you want to mount the camera on a gimbal. The cage itself has a nato rail built into the left side which can be used for attaching accessories like side handles or monitor arms.